archives Jean-Dominique CARRE Contemporary Art
avant-gardes of the sixties and seventies
10 rue de la grande chaumière f -75006 paris france
archives.carre (at) wanadoo.fr
http://archives.carre.pagesperso-orange.fr

eastern and central european avant-garde art     Vlasta DELIMAR Zagreb, Croatia, 1956 - poklon democracija (a gift of democracy) Photograph. Black and white gelatin silver print. Mounted on card and framed under glass. Picture: 9.5 x 5.7 cm. Framed: 26 x 19 cm. Text in Croatian "poklon democracija" handwritten in blue ink in the bottom of the card. Signed by V. Delimar and dated 1982 on the back. The small size of this photographic work was deliberately chosen, to parody the pious religion cards slipped into missals, communion cards, etc.       Vlasta DELIMAR and Zeljko JERMAN Zagreb, Croatia, 1956 - / Zagreb, Croatia, 1948 ­ 2006 a spomen i dugo sjecaijen (in memory and for a long time)   Photograph. Black and white gelatin silver print. Mounted on card and framed under glass. 18.2 x 11.7 cm. Framed: 31 x 25 cm. Text in Croatian:"na spomen i dugo sjecaije handwritten" in red ink in the bottom of the photo. A few small oxidation stains. Photo by Zeljko Jerman, signed on the back.           hole and signature       Stano (Stanislas) FILKO Velka Hradna, 1937 - Bratislava, Slovaquia, 2015. HAPPSOC. Theory of Anonymity Unique. Photocopy and ink on a white paper sheet. Photocopoy of the famous manifesto “Co je HAPPSOC?” (What does HAPPSOC mean?), written by Filko, Kostrova and Mlynarcik in 1965, on which Stano Filko has added handwritten words, numbers and a diagram in blue ballpoint pen and red felt pen. Filko also made a hole in the center of the sheet of paper. Dated 1965 and signed "HAPPSOC SF." plus the initials: F.M.K. in blue ball point pen in the lower right corner. Fine. (HAPPSOC: Happening and Society. Stano Filko wrote in collaboration with Alex Mlynarcik and Zita Kostrova to accompany the happening titled “Co je HAPPASOC?”, Bratislava, Checoslovaquia, declaring life in Bratislava is a work of Art, in May 2–8, 1965).         Tomislav GOTOVA Sombor, Serbia, 1937-   PUN MI JE KURAC GERONTOCIJE (I've had enough of Gerontocraty) Unique. Silkprint and felt pen. Added to the printed text, handwritten with a black thick felt pen, in bold characters: “PUN MI JE KURAC GERONTOCIJE (I've had enough of Gerontocraty). Printed signature in the same black bold characters. Framed under glass Image: 21 x 29.7 cm. Frame: 25.5 x 34.4 cm. 1970ies. Condition: Small cresaes, a little foxing and a few short nicks to edges, still VG/VG+           Milan GRYGAR Akustická Kresba 22 /Adagio 7-inch vinyl record in original printed sleeve. Side one: Akustická Kresba 22 (04:30 ). Side two: Adagio (Zvuková Realizace (03:45). Supraphon ‎– 1 39 9861, Czechoslovakia, 1969. Record and sleeve in fine condition, as new. Reproduced in the exhibition catalogue “Milan Grygar, Akustické Kresby a Partitury (Milan Grygar, Acoustic Drawings and Scores)”, Galerie Zdenek Sklenar, Prague, Czech Republic, 2006. Extremely rare.         Covers 2 of the plates   Sanja IVEKOVIC Tragdija Jedne Venere. Tragedy of a Venus. Artist book. 36 unnumbered pages of which 34 full-page plates of b/w photographs, one per plate. Unpaginated. Stapled binding. 29.1 x 20.5 cm. Galerija suvremene umjetnosti (Gallery of Contemporary Art), Zagreb, 1976. First edition. Published on the occasion of the one-woman show of S. Ivekovic in the Gallery of Contemporary Art, Zagreb, December 1976, in 500 copies. The reprinted photos od Marilyn Monroe in this publication were selected in from a special number of the magazine "Duga" printed in November 1975, under the title "Tagedy of a Venus". MoMA: "In Tragedy of Venus, Ivekovic reconstructs Marilyn Monroe's life using images and text from a tabloid story. On the opposite pages are scenes from the artist's life. The images share the text description from the tabloid article. By inserting herself alongside this Hollywood composite of fame, beauty, and tragic circumstances, Ivekovic simultaneously impersonates the Monroe story, distances herself from it, and plays with this ambiguity".           Julije KNIFER MS-1 Print on canvas mounted on board. 25 x 35 cm. Edition of 25. Dated 1970, titled, numbered and signed on a paper label pasted on the reverse. Julije KNIFER has participated in the Croatian avantgarde group "Gorgona", 1961-1966, together with Marijan Jevsovar, Djuro Seder, Josip Vanista, Ivan Kozaric, Miljenko Horvat, Dimitrije Basicevic, Matko Mestrovic and Radoslav Putar. Realized in a very limited edition (25 copies) for his friends, art critics, artists. This copy comes from one of his friends, a Croatian artist.           Ivan KOZARIC Peyrinja, Croatia, 1921- Member of the Gorgona Group Untitled Drawing. Red and green pencils on white paper. Portrait. Framed under glass. Image: 34.5 x 24.8 cm. Frame: 39.1 x 29.7 cm. Signed (initilals) and dated (illegible) in the lower right corner. Fine.             Marinela PREDA SANC Bucarest, Romania, 1955- Untitled Unique. Mixed technique. Photo collage and gouache. Signed and dated ‘84 in black pencil in the lower right corner. Framed under glass. Image: 14.7 x 22 cm. Frame: 22.9 x 29.3 cm. Fine.           Marinela PREDA SANC Bucarest, Romania, 1955- Untitled Drawing. Black pencil on brown paper. Signed and dated ‘82 in black pencil in the lower right corner. Framed under glass. Image: 30.8 x 22.5 cm. Frame: 30.9 x 22.6 cm. Fine.       BOZIDAR RASICA (Ljubljana, 1912 - Zagreb, 1992) Co-founder member of the Croatian avant-garde group EXAT 51. Untitled. 1952. Unique. Gouache on paper. Image: 62.5x48 cm. Framed under a glass panel. Signed in pencil bottom right. Condition: Small tear on paper low centyer (ca 1 cm), otherwise perfect.. (Generally, Rasicar' gouaches are not in good condition. For example 3 that are included in permanent exhibition of the Contemporary Art Museum in Zagreb are much worse. He was never to keen on taking care after them (he was an architect who didn't consider himself an important artist). The story is that he washed many of his gouaches in a bath tub!!!) Reference: Catalogue of the show in which it participated: Jesa Denegri, Zelimir Koscevic, EXAT 51 1951-1956, Gallery Nova (Nova Galeria), Zagreb, reproduced under #22, page 207.     BOZIDAR RASICA (Ljubljana, 1912 - Zagreb, 1992) Co-founder member of the Croatian avant-garde group EXAT 51. Untitled. 1952. Unique. Gouache on paper. Image: 59x41 cm. Framed under a glass panel. Signed in pencil bottom right. Condition: Good, signs of wear. (Generally, Rasicar' gouaches are not in good condition. For example 3 that are included in permanent exhibition of the Contemporary Art Museum in Zagreb are much worse. He was never to keen on taking care after them (he was an architect who didn't consider himself an important artist). The story is that he washed many of his gouaches in a bath tub!!!) Reference: Catalogue of the show in which it participated: Jesa Denegri, Zelimir Koscevic, EXAT 51 1951-1956, Gallery Nova (Nova Galeria), Zagreb, reproduced under #30, page 209.       Josip VANISTA La Description. 1964   Typewiting on paper. 28.7 x 20.6 cm (11 1/2 x 8 1/4") Dematerialization of the J. Vanista's painting "The Silver Line" (1964): The work presented here consists simply in a single sheet of A4 paper with only a typed text in Croatian language on one side, describing the painting. Translation of the text into English: A canvas in horizontal format width 180 cm, height 140 cm. A silver line in the center of the canvas / width 180 cm, height 3 cm / 1964 A few copies of this work have been created by J. Vanista. Each is unique, originally typed by J. Vanista with the same typewriter. One of them is in the MoMA's collection: Vanista: La Description Signature: As usual, this work is signed by hand on a paper label also containing the typed description of the work in Croatian, pasted on the back on the wooden frame: Translation into English of the text on the paper label: Josip Vanista: Picture. Description. Text typewritten on paper, 1964 Feb. 28,7 cm x 20,4 cm Provenance: Acquired from the artist by a private collector. Condition: Excellent. Framed.         Successive stages of the dematerialization of the work: - 1959: at the origin, a drawing of a more or less abstract landscape, then the photograph of this drawing exhibited in a show with two others. - 1959-1964: overpainting: the photograph of the drawing is covered with a thin layer of white paint and bisected it horizontally with a ruler-drawn black line. - 1964: the painting, the silver line on white background, disappears, existing then only in this form, its own description, a typed text on a paper sheet. Literature: Excerpts form Josip Vanista: "The Endless Line", (MoMA): J. Vanista: “The line appears at the very beginning of my work, on the first drawings and paintings. It appeared in its most radical form between 1962 and 1964, as a silver line on a white background or a black line on a gray background. It was shown at an exhibition reduced to only the typed description, ‘A silver line on a white background, height 3 cm, length 180 cm, canvas size 140 x 180 cm,’ dematerialized and developed into a concept. This was in about 1964. (...) Christian Rettemeyer: "Translation, repetition, dematerialization. Collectively, these works transform a radical (albeit modernist) gesture of pictorial abstraction and change its purpose, meaning, and thrust. The painted photograph úbermalung still insists on the continuity between landscape and Vanista’s single horizontal line, the latter a remnant of the former, wrought from it through processes of removal and reduction. The drawings, paintings, and collages, repetitions of the same or similar gesture of the horizontal line, establish a repertoire of variations. But the typewritten text transforms the exercise on a single line into its idea; the written description conjures a transformation from object to definition, from abstraction to concept, from material to immaterial. It is tempting to situate Vanista’s horizontal lines within a field of similar conceptual trajectories and instruction-based artworks that occur around the same time in the West and elsewhere: they share characteristics with Roman Opalka’s Details (begun in 1965), Joseph Kosuth’s One and Three Chairs (1965), and Sol LeWitt’s Sentences on Conceptual Art (1969)." See the MoMA's page where these excerpts come from: MoMA, Vanista             We are interested in purchasing artist books, multiples, prints and unique works of art by these artists. Please contact us. Nous sommes intéressés par l'achat de livres d'artiste, estampes, multiples et oeuvres uniques de ces artistes. Merci de nous contacter.   .

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